Barbershop Roots2 - Barbershop Harmony Society

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Barbershop Roots2 - Barbershop Harmony Society

INSIDE: Saturday Evening Post sets Seniors record • Harmony U WILL sell out! • How your district measures success
January/February 2015
PHOTO MONTAGE BY EDDIE HOLT
As a young man, Louis Armstrong formed a vocal quartet
with his buddies, singing for tips
on Rampart Street and in the
Storyville section of New Orleans. Louis sang tenor. It was
typical for African Americans to
vocally harmonize in four parts,
improvising in a style similar to
what eventually became the instrumental sound of early jazz.
10 The HARMONIZER • January/February 2015
Ragtime legend Scott
Joplin included a barbershop quartet in his
life’s work, a 1911 opera called Treemonisha,
which incorporates the
musical traditions of
African Americans. His
barbershop passage
sounds just like something we would sing
today.
“I have witnessed ... these explorations in the field of harmony and the
scenes of hilarity and backslapping when a new and rich chord was discovered. There would be demands for repetitions and cries of, ‘Hold it!
Hold it!’ until it was firmly mastered. And well it was, for some of these
chords were so new and strange that, like Sullivan’s Lost Chord, they
would have never been found again except for the celerity in which they
were recaptured.”
- James Weldon Johnson (1925),
barbershop singer, NAACP Executive Secretary
The African-American
Roots of Barbershop
(and why it matters)
M
Adapted from David Wright’s Harmony University class on
barbershop history, presented at the 2015 Midwinter convention in New Orleans on Jan. 10, 2015. Barbershopper and
historian David Krause participated in the preparation of this
class. View the class on YouTube at bit.ly/barbershophistory.
David Wright
Hall of Fame
arranger, historian, coach,
judge, director
[email protected]
gmail.com
Most of us hadn’t realized the extent of the presence
of barbershop harmony in African-American culture
until 1992, when Lynn Abbott published an article
called “Play that Barbershop Chord; A case for the
African-American origin of barbershop harmony” in American Music.
(bit.ly/barbershopchordabbott) Lynn
had documented so well, irrefutably,
from numerous newspaper articles
and books and live interviews, the extent of which our music was pervasive
in the culture of African-Americans.
Until then, many of us believed
that the first historical reference
to barbershop harmony was the
1910 song, “Play That Barbershop
Chord.” The sheet music cover
features a black Vaudevillian named
Bert Williams. The song was also
recorded by a white quartet, The
American Quartet, which twice
stops the song and then says in Afri-
According to jazz scholar Vic
Hobson, barbershop and the
blues were very entwined
with the beginnings of jazz,
and in fact might have had
a formative influence on the
beginnings of jazz.
can-American dialect, “That’s it. That’s what. That’s
a barbershop chord.” The chord they’ve stopped on is
what we now call our barbershop 7th. This shows that
in 1910, that chord was associated with a barbershop
quartet and with African-American harmonizing.
There’s little evidence to support Sigmond Spaeth’s
belief that barbershop harmony had something to
do with Elizabethan England. However, in the late
1800s, barbershop was pervasive in black culture.
There were youth harmonizing on the street and pro-
LORIN MAY
Lynn Abbott, a jazz archivist at Tulane University, is an expert on early
African-American popular music and
gospel quartets. He discovered overwhelming evidence that barbershop
quartetting was pervasive in AfricanAmerican culture in the late 1800s
and early 1900s, including among
many men who went on to become
the pioneers of jazz. Abbott published
his findings in a 1992 academic paper
(read it at bit.ly/barbershopchordabbott) that forever changed the way
Barbershoppers understand their
roots. In recognition, during January’s
2015 Midwinter Convention in New
Orleans, Abbott was honored with a
Society Honorary Lifetime Membership.
January/February 2015 • The HARMONIZER 11
When James Weldon Johnson was leading the NAACP during the 1920s, he became concerned that barbershop music
was becoming associated with white quartets. He and others
remembered that the music had been a much earlier product
of black culture: “Pick up four colored boys or young men
anywhere and chances are 90 out of 100 that you have a
quartet. Let one of them sing the melody and the others will
naturally find the parts. Indeed, it may be said that all male
Negro youth of the United States is divided into quartets ...”
fessionals harmonizing on stage. Many, many famous
African Americans harmonized in the barbershop
style. Ragtime legend Scott Joplin thought enough
of this that he incorporated the barbershop quartet
into his life work, a 1911 opera called Treemonisha,
which incorporates the musical traditions of African
Americans. His barbershop passage is just like something we would sing today.
Atlanta University Quartet,
early 1890s; Johnson is on
the far right
When the professional white quartets began recording, they were simply “male quartets.” Early on,
they never used the term barbershop, even though
that’s what it was. “Barbershop” would have been
interpreted as an African-American reference.
One of the cradles of barbershop harmony is right
here in New Orleans. Louis Armstrong talked about
harmonizing on the street corners of New Orleans
Bringing black singers back into the barbershop fold—and why songs associated with slavery and segregation may need to be retired
Yes, the Society was exclusionary
in the past, but that is not what is
going on today. The Society can’t
change what happened in the
past. Yes, some of the songs are
on the edge of racism, but only
if you look really hard and know the history of the
Society and the songs.
The problem, in my opinion, is not with the
Society, but with the black community that seems
unwilling to reach out and see how beautiful the
music is.
I raised a concern when “Alabama Jubilee” was
announced as the contest song that we went on to win
gold with in 2011. I know what a jubilee was, and
that it was not in the best interest of the slaves on the
plantation. I was not exactly excited about singing this
song. Interestingly enough, when I told some people
about my concern, they had no idea what a jubilee
was and they thought they were singing just another
song. That changed my perception of what was going
on in my own chorus and probably a good percentage of the Society. Most people have no idea how
derogatory some of the songs can be perceived to be.
I was willing to get over the idea behind the
song because I love four-part harmony. I wonder
how many people in my community would be
willing to do that.
I think we need to get my chorus and the Society
in front of minority communities as a recruiting tool
and show them how great the sound is. Sure, there
will be people unwilling to participate, but I am sure
there are more than enough people like me who will
embrace it despite the perceived issues.
– Charles Carothers, Masters of Harmony
12 The HARMONIZER • January/February 2015
At the recent Golden Globes,
Tina Fey and Amy Poehler talked
about the new movie Selma, and
how it covers the dawning of the
Civil Rights Movement, which
led to the Voting Rights Act of
1966, “and now everything is fine.” It got a big
laugh—ironic, cynical—because everyone knows
that racial inequality is not fine, whatever real
strides we have made.
The BHS was discriminatory in the past, and
many members probably do not realize they are
blind to the perceptions of some outsiders. Why do
fewer racial minorities sing barbershop? Quite apart
from the quality of the music, imagine the feelings of
a black singer in our midst. I believe song selection
may be an issue at times.
For example, the glorification of the Old South;
“Alabama Jubilee” was about white plantation
owners celebrating while the slaves fetched and carried. The Showboat was welcomed by the rich, but
not so much by the ones who had to tote the barge
and lift the bale. “Floatin’ Down to Cotton Town,”
“Mississippi Mud,” “All Aboard for Dixieland,” and
“In The Evening By The Moonlight” are in the same
genre, despite their great tunes.
A Sweet Adelines chorus recently felt the need
to change a song title to “Hot-Town Strutters’
Ball”—even though “Dark-Town Strutters Ball”
is a 100-year-old non-racist song created by a
black songwriter. If we sang “Alabama Jubilee”
but called it “South Dakota Jubilee,” does the
racism go away? False and obvious gestures do
not address real racism.
- Kirt Thiesmeyer, past president, Masters of Harmony
Here is a brief brainstorm of the
kinds of actions I believe could
make a difference:
• Most chapters may want to
reach out to institutions of color
within their community that have
music programs, and present opportunities to
sing on shows and to perform on any secular
shows. Perhaps if a chorus is thinking of a
gospel-type song, they invite in a local music
ministry for coaching.
•For the Martin Luther King, Jr. holiday, perhaps
come up with song suggestions for groups to
participate in local celebrations.
•Provide chapters with a Black History Month
program on the African-American roots of the
art form and script and song list groups can use.
•The greatest thing we can do in the short term
is ban “Mammy” songs and make clear to the
external community we’ve done it. I am for
preserving the songs and arrangements much
in the way folks collect “racial” imagery–not to
use, but only to remember what once was.
•With headquarters in Nashville, perhaps work
with groups like Fisk University to catalog some
of the Southern and mammy-themed songs that
just don’t resonate in our enlightened age.
•The Fisk Jubilee Singers and Jubilee Hall could
be a part of the 2016 convention in Nashville.
•With Belmont in the mix for Harmony University,
Fisk and its music department shouldn’t be left
out. Music-related internships (for college credit,
not pay) at the HQ might be a good way to get
an interest in our organization.
– Cecil Brown, Big Apple Chorus; lead, Up All Night
“A noticeable advancement along the lines
of the profession is the passing of the barber
shop quartette with its barber shop harmony.
It doesn’t take much of an effort of memory
to recall when all quartettes sang their own
self-made harmonies, with their oft-recurring
‘minors,’ diminished sevenths and other embellishments. This barber shop harmony, although
pleasing to the average ear, and not altogether
displeasing to the cultivated ear, is nothing more
or less than a musical slang. It violates—at times
ruthlessly—the exacting rules and properties of
music. All forms, phrases and progressions of
music go down before it. What does [sic] the
barber shop exponents of harmony care for
such delicacies as the forbidden progressions
of perfect fifths and octaves? What do they
care about chord progression in its correct
form? Their chief aim is to so twist and distort
a melody that it can be expressed in so-called
‘minors’ and diminished chords. The melody
is literally made to fit their small stock of slang
chords, instead of the chords being built around
the melody.”
– “Tom the Tattler,” an African-American musical purist who held black barbershop quartets in contempt due to their continual musical
experimentation; this 1900 editorial prematurely celebrated their waning influence
as a youth. This was about a mile from where we are
right now, in 1910 or 1911, when he was only about
10 years old and a tenor.
New Orleans Jazz—and this really was the birthplace of jazz—was based on what singers sang when
they harmonized in their quartets. That makes a lot
of sense to me.
When I hear
our embellishments like
pickups and
backtimes and
swipes, those
are the same
things that
instrumentalists do when they play
Dixieland jazz. If you notice, you’ll
find them doing the same thing.
An African-American musical
reviewer who called himself “Tom
the Tattler,” wrote a review of the
African-American barbershop quartets in 1900. He’s trying to insult
barbershop harmony, but he gives
some of the best compliments our
style has ever received.
This tells us a lot about our music.
I think for a long time we got away Jelly Roll Morton, the firstfrom our musical roots, and I think ever arranger of jazz muthis gets us back there. Barbershop sic, recalls his barbershop
was very free-wheeling, flamboyant,
experimental. It doesn’t necessarily quartet’s improvisations:
stick with the composer’s song. It’s “The boys had some
like jazz—jazz is probably entwined beautiful harmony they
with barbershop and its roots more sang. And, of course, we
than any other single style of music. got together and made
Not all African American scholars
had reservations about barbershop all kinds of crazy ideas of
harmony. James Weldon Johnson, the harmony, which made
who was executive secretary of the it beautiful and made it
NAACP, grew up singing barbershop impossible for anybody to
harmony. He called all the African- jump in and sing.”
American culture of singing “barbershop harmony,” and in the 1920s was afraid that it
was beginning to be associated with white people. And
it was. Studio quartets out of New York City were all
white, a lot of the Vaudeville quartets that people saw
were white. Barbershop harmony by then had crossed
racial barriers and was a fabric in society. Black people,
white people, rich and poor. It really was everywhere.
It was ubiquitous in the early 20th Century on a professional level and on a recreational level.
James Weldon Johnson, unlike Tom the Tattler,
was very proud of barbershop harmony. He wanted
to go on record that there was a very strong AfricanAmerican component in its origin.
Our style of music has breadth. There was a time when
we were trying to legislate away what I believe are all the
African-American contributions to our music—which
are the things that make our music most interesting.
Barbershop is not a purely homophonic style. The
Around 1888, W.C. Handy, later to become widely known as “Father of the
Blues,” sang tenor in a quartet that gathered in a Florence, Alabama, barbershop “for the trying out of new swipes.” Handy reported that ... “they often
serenaded their sweethearts with love songs; the white bloods overheard, and
took to hiring them to serenade the white girls.”
January/February 2015 • The HARMONIZER 13
2009 International Champion Crossroads;
Dr. Jim Henry (Bs), is third from left
Nashville’s Grammy-winning gospel quartet, Fairfield Four, has
been in existence for more than 90 years. They will join Crossroads
quartet in a presentation at this year’s ACDA National Convention.
In the July 2001 issue of The Harmonizer,
Barbershopper and music professor Jim Henry
distilled key points from his doctoral dissertation. Building upon Lynn Abbott’s research on the
African-American roots of barbershop, Dr. Henry
analyzed 250 transcriptions and recordings of
early barbershop, tracing the musical elements
themselves back to their African musical DNA.
Elements traced exclusively to African music
included call-and-response, rhythmic charac-
ter, and harmony,
including the all-important barbershop
7th chord. Download
the article at http://bit.ly/BBshopRoots.
Dr. Henry’s Crossroads quartet is scheduled to join the legendary gospel quartet
Fairfield Four for a presentation at the
2015 National Convention of the American
Choral Directors Association in Salt Lake
City regarding the African-American roots of
barbershop harmony. Look for forthcoming
video/audio of the joint presentation in
upcoming Society communication.
recording studio quartets at the turn of the century
sang the composer’s melody exactly right because
they were trying to plug the sheet music. But the
African-American singer on the street corner was
all about the improvisational elements of our style.
Things like pick-ups, swipes, and echoes probably
come more from the African-American tradition.
The rich harmonic content, circle of fifths, was
probably European, but the African Americans
blended that with the riveting rhythmic tradition of
African music, and they did that both with barbershop and jazz. This influence really gives our music
its interest and its character.
When you hear today’s quartets doing things that
aren’t so homophonic, people say that’s getting
away from barbershop. But no, it’s not. It is where
we came from.
Certainly, contributors to the style were white quartets from New England, who sang in a very formal,
hymn-like tradition. Usually the melody was in the
second tenor, and very barbershop-like. Our style has
many roots. And African Americans were from vastly
different parts of the country, so who is to say that they
all sounded the same? But our style is not monolithic.
It’s a broad style of music. When we understand that,
we’ll become wiser as we face the future.
Barbershop relates to other styles. I love Vic Hobson’s
book because it makes it absolutely clear the intertwining of barbershop, blues, and early jazz. We shouldn’t
be afraid of the fact that our music resembles and
has relationship with other kinds of music. For many
years, you could damn something by saying, “that’s
just a country song” or
“that’s jazz.”
But our music is twined
with other
American
music.
Sydney Bechet, a New Orleans musical pioneer remembered as the first
important jazz soloist, had been an avid quartet harmonizer during his
youth: “It was Bunk Johnson who was the first to make me acquainted
with Louis Armstrong. Bunk told me about this quartet Louis was singing
in. ‘Sidney,’ he said, ‘I want you to hear a little quartet, how they sing and
harmonize.’ He knew I was crazy about singing harmony.”
14 The HARMONIZER • January/February 2015
A racially-mixed family of Barbershoppers reflects on how the Society can move toward enjoying a more racially mixed barbershop family
Drew Ellis and his son, Jacob, are respectively 3rd- and 4th-generation
Barbershoppers in Bowling Green, Kentucky.
We have always joked that God blessed our family with chocolate, vanilla,
and swirl. Our 14-year-old son, Jacob, is black, our 11-year-old daughter is
bi-racial (black/white), and their 5-year-old brother is white. Jacob recently
received his 8-year membership card and is a strong bari in
the Spirit of the Commonwealth (formerly the Caveman Chorus)
of the Mammoth Cave, Ken., Chapter.
As a family that has crossed racial lines through adoption,
we’ve worked to preserve the racial heritage of our children
while encouraging them to develop their own identities. This
has allowed our family to enjoy diverse relationships we may
not have otherwise had, and has given us a perspective on
the challenges and opportunities in spreading barbershop
harmony to communities that rarely hear or perform it.
There’s a huge, untapped resource of harmony lovers
of various racial backgrounds. Harmony has always been a rich part of the
African-American culture. This goes far beyond those who created the early
barbershop sound. It can be found in worship styles, singing styles, and in
the musical evolution of doo-wop, Motown, jazz, and hip-hop music. You’ll
often find high concentrations of quality singing and musicianship in black
communities, because these activities are often tightly interwoven into the
cultural fabric.
Early black Barbershoppers deserve belated recognition. I believe the
Society and others would benefit from a concerted effort to visually recognize,
appreciate the talents of, and even “glorify” the talents of early black quartets.
We can’t change the history of social norms that barred non-white singers from
Society membership until the early 1960s, but we can honor and listen to the
black quartets who might have become Society idols had they been allowed
to compete. The talent and skill of groups like The Mills Brothers and many
other early black quartets like The Morris Brown Quartet had tuning, precision
and ring that was often much better than our early champion
quartets. (Enjoy several such quartets at bit.ly/MorrisBrown.)
Contemporary black harmony groups deserve recognition, too. Perhaps the Society can consider some sort of honor
to the Fairfield Four, the Jackson 5, Boyz II Men, the Temptations,
or other iconic harmonizing groups in gospel, Motown, R&B.
Obstacles can be overcome one man at a time. If we are
serious about breaking down racial barriers, we have some
notable obstacles to overcome. But it can be done one man,
one boy, one quartet at a time. Younger Barbershoppers
are already more diverse. Of the eight men who won an
international quartet gold medal in Las Vegas, 2014, only
two were white, and the Musical Island Boys won while ‘shopping Motown
hits. Members of many past collegiate champs have come from a variety of
ethnic backgrounds; in most cases, they got hooked on barbershop by another
Barbershopper who cared enough to reach out.
Let’s work to show people what “harmony” can mean. While we have
now welcomed ethnic diversity in the BHS for many years, joining with the
unreached communities among us could give us an advantage in growing
a global interest in the barbershop art form and culture. Ours can be a
culture—both in fellowship and in competitive performance—that could
metaphorically and visually demonstrate the power of “close harmony.”
We should aggressively strive to break
the race barrier and make barbershop
culture more inclusive. What could be
more right than to include more African Americans, whose grandfathers had
such a strong role in the beginning of
our music! It’s not an easy thing to do.
I think if we want to do it, and I believe
we do, that that’s the first step.
We need to find a way to share
our music and this experience with
a wider group of people. That’s going to make our music richer, make
us much more acceptable. Grant
money would be much easier to get,
many good things would happen, if
we could make a dent in the racial
barrier. And I think we are. n
Society pioneer Sigmond Spaeth
was also a famous musicologist.
In his 1925 book Barber Shop
Ballads, he attributed the style
to European traditions. There
is little evidence to support
his theory, but overwhelming
evidence that black quartets had
developed the early sound; white
quartets later added their own
elements and popularized the
style with the masses.
January/February 2015 • The HARMONIZER 15